Review: Calendar Girls - Greasepaint Productions

Public Adjudication

Society name: Greasepaint Productions

Show name: Calendar Girls The Musical

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‘Calendar Girls - The Musical’ is a beautiful show, full to the brim with heart, which never fails to strike an emotional chord with its audience. Greasepaint Productions’ version at St. Mary’s Hall, Buncrana, brought us on an emotional rollercoaster of a journey as it told the true story of a community of women coming together during a time of sadness and loss to make a difference. This wasn’t a production which relied on large budgets or special effects and there wasn’t a bell or a whistle in sight. Instead, it leaned into the simplicity of the story and delivered it with a sincerity that was heartwarming from start to finish. 

The front of house experience set the tone for the sense of community that would permeate the evening’s proceedings. There was an air of warmth and friendliness as patrons were welcomed into the foyer. It was personal and sincere, echoing the mood of the show. A particularly moving feature of the foyer was the display of sunflower artwork created by students from local school, Scoil Mhuire. Each sunflower represented memories of loved ones and families affected by cancer. Reminders that both Foyle Hospice and Donegal Hospice would benefit from the proceeds of the show, added to the positive sense of collective effort. It was all about a community coming together, not just to tell a story, but to support causes that touched many local lives.

Direction by Dónall Henderson demonstrated a good understanding of the balance required, moving between humour and heartbreak with sensitivity. The more emotional sequences were handled with restraint. ‘Time Passing’, in particular, was staged with great simplicity yet it still proved very moving. The focus was on truth and sincerity, trusting the book and the cast to do the emotional work. One of the strongest aspects of the direction lay in the clarity with which relationships were established and sustained. The rapport between Annie and Chris was immediately believable. The bond between Annie and John was warm and loving.

These connections gave true emotional context to the production. Mr. Henderson also showed confidence in staging the show’s more complex sequences. ‘Dare’ was especially well handled, building a strong sense of anticipation, excitement and shared courage among the women, with staging that emphasised togetherness. The notoriously difficult final photo shoot scene was another success, skilfully managing the demands of props, comic business and musical timing. 

Musical direction by Noel Thompson, with support from Louise Crossan as vocal coach, was generally solid throughout. The instrumental balance was generally well handled, allowing vocals to sit comfortably on top of the sound without feeling overpowered. Choral singing was generally good throughout, especially in the larger ensemble numbers where the ensemble produced a suitably full-bodied sound. Harmonies were especially strong in ‘Dare (Reprise)’ and the rousing finale, ‘Sunflower of Yorkshire’, was delivered with a joyously rich sound that sent the audience out on a musical and emotional high. Principal singing was generally of a good standard. There were, however, moments where timing issues arose for some principals. Underscoring throughout the show was handled with sensitivity, enhancing key moments without losing dialogue or detail. 

Dónall Henderson was a busy man, also taking on the role of choreographer. I felt that choreography was perhaps the least consistent element of the production. While Mr. Henderson’s choreography suited the narrative, I felt that there were moments where greater structure and performance levels would have strengthened the overall impact. ‘Who Wants a Silent Night?’ was the most successful number, with simple, unforced choreography that suited both the context and the narrative intent. The movement reflected the celebratory atmosphere of the WI Christmas party, allowing characters to express freedom and fun without resorting to overly formalised steps. This worked well, keeping the focus on ensemble energy rather than dance technique. ‘So I’ve Had a Little Work Done’ introduced four air hostesses whose routine, while neat and synchronised, felt very safe. These issues did not detract significantly from the production as a whole, but they did represent missed opportunities.

Maria Fitzpatrick gave a strong and engaging performance as Chris, bringing humour, boldness and a likeable presence to the role. Her brash confidence was played with good comic timing. She was particularly funny having ‘won’ the cake-baking competition with her Marks and Spencer masterpiece. Ms. Fitzpatrick understood Chris’s blunt honesty and mischievous nature yet never descended into caricature. Vocally, Ms. Fitzpatrick was impressive, with a powerful and confident singing voice. ‘Sunflower’ showcased her vocals at their best, delivering the song with emotional weight and control, though the impact might have been further enhanced with more considered movement and physical structure. She brought tremendous energy and drive to ‘Dare’, right through to her hilariously timed final appearance. 

Mary Lane gave a very strong, deeply thoughtful performance as Annie. From her first appearance, she drew the audience in with her warmth, decency and inner strength. She brought raw vulnerability to scenes dealing with John’s diagnosis and eventual death. This was most evident in ‘Scarborough’, delivered with beautiful clarity and heartfelt sincerity, and in ‘Very Slightly Almost’, where the emotional balance was perfectly judged. Alongside this emotional depth, Ms. Lane also showed a wonderful sense of fun and vitality. Her energy in ‘Dare’ was infectious, clearly delighting in shocking poor Ruth. ‘Kilimanjaro’ was just heartbreaking, sung with wonderful control and understatement, capturing Annie’s grief so honestly. 

Bernie Doherty brought warmth and considerable wit to the role of Cora, Knapely’s choir mistress. Her relationship with Danny was particularly well observed. Described by him as “the best dad a mum could ever be” Ms. Doherty was warm in her affection but firm in her boundaries. Ms. Doherty showed excellent comic timing, delivering Cora’s quips with a natural humour that landed so well with the audience. She brought a wonderful sense of fun to ‘Who Wants a Silent Night?’, clearly relishing the opportunity to cut loose a little while remaining fully in character. Vocally, she impressed in this number, her strong voice delivering each line with energy and comic intent. 

Sue Doherty Mellon was very funny as the stern, retired schoolteacher Jessie. She captured the character’s rigidity and formality very well, yet allowed the audience to see flashes of vulnerability when required. Vocally, Ms. Doherty Mellon showed a good, characterful voice, though there were some timing issues in ‘Mrs. Conventional’. ‘What Age Expects’ proved to be one of Jessie’s strongest moments, offering a poignant reminder of how older members of society can sometimes feel sidelined or invisible. While the melody was not always secure, the delivery was emphatic, heartfelt and sincere, qualities that ultimately carried the number. 

Mairé Grant brought glamour and a knowing sense of humour to the role of Celia, instantly setting her apart from the other members of the WI. She carried herself with poise and elegance, even if her golfing skills left something to be desired. Ms. Grant played Celia with just the right balance of confidence and warmth. Her comedic timing was sharp. Vocally, Ms. Grant was strong, especially in ‘So I’ve Had a Little Work Done’, where her singing was confident and character driven. 

Caroline McGee’s wonderful and deeply affecting performance as Ruth, captured the complexity of a character who is, on the surface, the organiser supreme of the WI, yet inwardly fragile and profoundly lonely. Ms. McGee’s performance was touching, sincere and tragically funny. Ruth’s strained relationship with her husband, and his apparent infidelity, gave Ms. McGee plenty of subtext to work with and she conveyed this private heartbreak with restraint, allowing her sadness to surface subtly throughout. ‘My Russian Friend and I’ was beautifully sung, deeply poignant and tinged throughout with heartache. A superb performance overall and one of the most moving portrayals of the evening.

Caroline Doherty gave a solid performance as Marie, the formidable chairwoman of the Knapely Women’s Institute. Ms. Doherty brought a nice clarity to the role, establishing Marie’s authority from the outset. Where she truly came into her own was during Marie’s confrontation with Chris in Act Two. Her emotional response was played extremely well, allowing us to clearly see Marie’s anger and wounded pride. At the WI Conference, I felt that there was an opportunity for Marie’s outrage to be pushed further. A stronger, more visibly indignant reaction here might have heightened the drama.  That said, Ms. Doherty’s overall performance was strong and intelligent throughout.

Benny Porter’s portrayal of John, around whom the entire story revolves, was most moving. From his first appearance, Mr. Porter had a natural rapport with the audience, greeting them with warmth and gentle humour as he introduced the residents of Knapely during the opening number ‘Yorkshire’. His relaxed stage presence and clear musical timing immediately drew the audience in and set John at the heart of the community. His relationship with Annie was beautifully played, with a tenderness and familiarity that was heartwarming. As John’s health declined, he portrayed the progression with believable physical and emotional choices. His final monologue was beautifully delivered and genuinely heart-wrenching, framed powerfully by the surrounding community, the very people he had introduced at the top of the show. 

Ciaran McLaughlin brought warmth and humour to the role of Rod, Knapely’s local flower shop owner and Chris’s ever-patient husband. Mr. McLaughlin got the fact that Rod’s humour is a coping mechanism for dealing with the “crazy paving” of life with Chris. It was a relaxed and confident portrayal, balancing comedy and emotion throughout. 

Brendan Fletcher did very well as Colin, Jessie’s husband, proving that there is no such thing as a small part. A fine character actor with excellent facial expression and physical awareness, he wrung every possible comic opportunity from his limited stage time with his wonderfully funny reactions. He was always contributing to the storytelling. A fine example of strong character work in a minor role.

There was strong support too from Donal Kearney in his role as Denis, Celia’s husband. His delivery was clear and he was most expressive, enabling Mr. Kearney to get the very most out of his stage time. His reactions were always well judged and he was always in tune with the narrative. Another example of thoughtful work in a smaller role.

Lisa Wilson and Majella McLaughlin were a wonderful pairing as Miss Wilson (Tea) and Miss Wilson (Coffee) They were almost clones of one another, with their matching glasses and tied back hair. This added greatly to the visual humour. They looked like they were enjoying every minute on stage. Their ‘reveal’ in the photography scene was very funny indeed.

Shauna McKinley was a strong Brenda Hulse, delivering her presentation with delight and Janet McGrory was a suitably upper crust Lady Cravenshire.

The three teenagers were played with great skill by Ultan Henderson as Danny, Amy McGee as Jenny and James O’Toole as Tommo. Mr. Henderson was full of energy and character. His “Hello Yorkshire I’m a virgin!” got a great reaction from the audience and he shone in ‘Protect Me Less’, showcasing a fine voice. His drunken scene was very well judged. It could so easily have been overplayed but was handled with restraint. Ms. McGee had lots of attitude and a very strong presence as Marie’s rebellious daughter. She was also very strong in ‘Protect Me Less’. Mr. O’Toole’s energy and teenage bravado were very much to the fore and his comic timing was strong. He too had a strong voice and this was very evident at the end of ‘Who Wants a Silent Night’. His reaction to Celia’s “grooming” was hilarious.

Dónall Henderson was most engaging as Lawrence, the amateur photographer who befriends John and finds himself unexpectedly propelled far beyond his comfort zone when tasked with photographing the WI ladies in their “native habitat”. Mr. Henderson played Lawrence as socially awkward but well-meaning, bringing nervous energy and awkward politeness to his characterisation. There was a clear sense of a man slightly overwhelmed by events but determined to do the right thing, which made Lawrence both endearing and credible. His hospital scenes were particularly effective, played with understatement and sensitivity. Mr. Henderson came into his own during the photography scene, where he confidently drove the action as the women moved from one photograph to the next. 

‘Calendar Girls’ offers relatively few opportunities for the ensemble to shine but Greasepaint Productions managed to integrate ensemble members into plenty of action in a meaningful, purposeful way. The inclusion of additional women within the WI, alongside the principal performers, added great authenticity, strengthening the idea of a living, breathing community in Knapely. There was a great sense of togetherness in the opening number ‘Yorkshire’, and the energy was strong in ‘Who Wants a Silent Night?’, where the ensemble sang and moved with clear enjoyment and commitment. 

The set was simple, functional and effective. The stage was nicely framed by stone-textured walls evoking a sense of a rural village hall. Upstage was a set of full-height opening doors, which, when closed, featured a painted backdrop depicting the rural Yorkshire landscape. When the upstage doors opened, the reveal of the Women’s Institute interior was a welcome surprise with its nicely featured stained glass windows. It all moved very smoothly, ensuring that transitions were slick and fluid without heavy scene changes. 

Stephen King’s work as stage manager was solid throughout, contributing greatly to how smoothly the production ran overall. Costuming the crew alongside the cast was a smart decision, allowing scene changes to happen in full view without drawing attention to the mechanics. This resulted in largely seamless transitions throughout the show. Given the very tight backstage space, Mr. King deserves full credit for maintaining such a high level of organisation and control, ensuring that cues were met and the show maintained its momentum from start to finish. 

The lighting design was, for the most part, simple and effective, supporting the storytelling without drawing undue attention to itself. There were several moments where lighting enhanced mood and focus, most notably through the use of follow spot, which worked particularly well in ‘Scarborough’ and in Chris’s ‘Sunflower’. In ‘Time Passing’, the lighting was nicely subdued, creating a reflective atmosphere that complemented the emotional tone. There were, however, some questionable design choices. The use of moving lights in ‘Mrs. Conventional’ felt somewhat inappropriate to the tone. Greater coordination between the lighting operator and onstage action was also needed, particularly in relation to blackouts. On several occasions, scenes clearly ended but performers began to walk off in full light, with the blackout coming late. Overall, while the lighting achieved its basic function and had several strong moments, more considered design choices and tighter execution would have elevated things considerably.

Sound was excellent throughout, with a consistently strong balance between the orchestra and cast vocals, allowing lyrics to be clearly heard without ever overpowering the music. The band itself was also well balanced, with all instruments sitting comfortably in the mix. Cueing from the operator was very solid, with no missed entries suggesting confidence and familiarity with the show. Sound effects were well chosen and used sparingly but effectively, adding texture and authenticity to the storytelling. The tannoy announcements during the fete scene were well produced, with just the right amount of effect. 

This was a very busy props show and the props department rose impressively to the challenge. There was clear and consistent attention to detail throughout. In the opening number, everyday items such as bags, books and newspapers helped to create a believable, lived-in world and added authenticity to the ensemble’s presence on stage. there were many standout props throughout. Brenda Hulse’s projector, complete with working light, was an especially effective detail, while the hospital couch, deliberately grey and uncomfortable in appearance, was a great choice. John’s mobile drip, walking stick and wheelchair were all well sourced, reinforcing the reality of his illness. The photography scene, in particular, was so well dressed and every prop was precisely placed, with no margin for error. The John Clarke Memorial Wing plaque was a superb piece adding to the emotional weight of the final scene. 

The costume design played a strong role in defining character and supporting the storytelling. Celia’s glamorous look was particularly effective, setting her apart visually from the outset. The WI Christmas party costumes were a real highlight, with fun Christmas jumpers, Santa hats and seasonal accessories creating an immediate sense of warmth, humour and community. The playful reveal of Miss Wilson Tea and Miss Wilson Coffee’s outfits during the photography scene was very funny. For the finale, the ladies’ classy black dresses were suitably elegant and in contrast to what had gone before. 

Hair and makeup were well presented, with everything appearing naturalistic and appropriate to the setting. Makeup remained consistent under stage lighting, while hair was secure and practical, holding up well through movement and costume changes. Nothing distracted from the storytelling. Solid work from all involved.

Overall, this was a warm, engaging and thoughtfully presented production, with some strong performances and a real sense of community on stage. The WI ladies deserve enormous credit for their bravery in the iconic photography scene. Where the production occasionally fell short was in areas of technical polish, particularly lighting coordination. Nonetheless, these were minor issues in the context of a production that succeeded where it mattered most in telling this beautiful story with heart, humour and honesty. 

Pat McElwain

Sullivan Adjudicator 2025/2026